ae ALOGUE 


OF AN 


EXHIBITION OF THE WORKS OF 
CHILDE HASSAM 


AT THE 
AMERICAN ACADEMY OF 


BRIio AND LETTERS 


633 WEST 155TH STREET 
NEW YORK CITY 


AMERICAN ACADEMY OF 
ARTS AND LETTERS 
1927 


[ACADEMY PUBLICATION NO. 58] 


a4 


**% 


~ FOREWORD 


The significance of Mr. Hassam’s 
work has been well expressed in the 
following letter from Mr. John Gel- 
latly: 


New York, 
April 12, 1927 


DEAR HASSAM: 


I feel that in your coming Exhibi- 
tion at the American Academy of Arts 
and Letters, having had the privilege 
of seeing your assembled work that is 
to be shown, the words of the great 
French artist “America has had a 
Renaissance in Art as great as that 
of the Italian Renaissance only the 
American people do not know it yet,” 
will be verified, and I trust that the 
exhibition will open American eyes to 
the truth expressed by the French 
artist. To me the artist’s words seem 


ACADEMY NOTES 


THE AMERICAN ACADEMY 


very true, but I feel to go further 
than he did, for somehow the fresh- 
ness, originality, beauty and purity in 
the work of the great group of our 
artists in the latter half of the nine- 
teenth century, and the surviving 
members of that group until the pres- 
ent time, would lead one back through 
the centuries to the clear beauty in 
Greek Are 

The Italian Renaissance was bur- 
dened with decoration, the American 
Renaissance portrays nature and has 
more of the beautiful simplicity of 
the Greek. 


It seems to me that no painter’s 
brush has more truly met the com- 
mand recorded in the Book of Genesis 
“Tet there be light” than yours. This 
you have done with truth and charm 
and poetry, and I think that you, who 
are perhaps the youngest of the group, 
will always be remembered as among 
the great and leading men honored by 
the French artist’s words. 


You have expressed yourself so well 
in the pictures shimmering with light 


ACADEMY NOTES 


Beets AND LETTERS 7 


and poetic truth, that I realize that 
your skill in handling enduring color 
assures a permanence in beauty which 
will endure for as long time as have 
the masterpieces of the fifteenth cen- 
tury. 

Believe me with keen appreciation 
and true admiration, 


Very sincerely yours, 
John Gellatly 


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a» 


THE SuN Room 


THE AMERICAN ACADEMY 


The following letter from the late 
Joseph Pennell, himself a member of 
the American Academy of Arts and 
Letters, is an illuminating characteri- 
zation of Mr. \Hassam as a painter- 
etcher 


February 23, 1923 


DEAR HASSAM: 


I have been looking at your new 
plates, and at some of the old ones, 
which Keppels tell me you are about 
to show in their gallery. I think it 
will be a most interesting exhibition, 
for two reasons: first, because the 
plates are good, and, second, because 
they are your own subjects. They 
are you and that is what most etchers’ 
work is not, though that to be your- 
self, to be personal, as you and | 
know, is the basis of all etching which 
is worth anything, but most etching 
is worth nothing! Besides your things 
are not the products of a sudden com- 
mission to fill a long-felt want, or to 
be in the fashion of the moment, of 
rapid trips with only time to make bad 


ACADEMY NOTES 


Geena so AND LETTERS 


sketches, often only to buy picture 
postcards, and then rush back to try 
to accomplish the impossible, though 
the manufacture of such machines 
may fill the manufacturer’s pockets 
and fool his public—but the subjects 
of your plates are the subjects you 
know, the motives about you that 
you always have known, and now in 
your ripe years are able to put on 
copper when you want and because 
you know they can only be done by 
that fascinating, entangling, madden- 
ing method—etching! 

But, my dear Hassam, why am I 
writing this poppy-cock and drivel? 
You know and I know, and mighty 
few other of the people who have 
rushed into art in this country know, 
that America, our country, is full of 
subjects, and that our New York 1s 
the most marvellous and endless sub- 
ject on the face of the earth. We have 
been trying to show this, and teach 
this, and put our preaching before the 
blind, the halt, and the thieves we 
have been the prey of for years, and 


your show is another proof that New 


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Il 


12 


THE AMERICAN ACADEMY 


England is also worth doing, that 
there are American women still left 
who do not look like flappers, that 
there are other methods besides trac- 
ing photographs, of drawing nudes, 
and that there are other ways and 
other motives than even yours and 
mine for etching New York. 

These are the reasons why I like 
your work, built up “on the knowl- 
edge of a lifetime,” and not upon ex- 
pressions, cubism, incompetence and 
conceit, the backbone of the rot and 
rubbish foisted by strange sharpers 
and incompetents—there are lots of 
blatant Americans, as they call them- 
selves, among them—fooling the most 
gullible and ignorant public in the 
world, crying they know not why, 
save as an investment, for art and 
getting artlessness, but cocksure in the 
valor of their ignorance. 

We also know that James McNeill 
Whistler is the greatest of etchers, be- 
cause his aims and his accomplish- 
ments were the highest in his practice 
of “the science of the beautiful” in 
the science of etching the most perfect 


ACADEMY NOTES 


Wino ANID LETTERS 


and not the easy, empty products of a 
misspent day. And sure in our con- 
victions and in our beliefs we will go 
on, my dear Hassam, till the end of 
the chapter, to the best of our ability, 
founded upon the traditions of the 
ages in art, and not upon the latest 
fake and cut to escape beauty and 
avoid work; for we know that with- 
out the highest aims and the hardest 
work, nothing decent can be done. 
Most people in art don’t know enough 
to come in when it rains, or dare to 
go out for fear they will get their 
feet wet. And we are also, though 
that is not our aim, showing the peo- 
ple that they can collect good work 
without being millionaires, and that if 
if they collect—these collectors—the 
works of their contemporaries rather 
than confining themselves to the works 
of their predecessors, they will be 
doing something for art, something 
for artists and something of them- 
selves. We, you and I, in our prints 
are giving them the chance and are 
going to go on doing so. Because 
we love art, and because we love 


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13 


14 


THE AMERICAN ACADEMY 


this undiscovered country—our coun- 
try—which is full of art—though near 
swamped by artless artfulness. 

So let us go on together. We 
started together, we have worked to- 
gether as friendly rivals, each in his 
own way, and we will go on together 
to the end. 


Joseph Pennell 


ACADEMY NOTES 


POMONA 


CHILDE HASSAM 


MR. HASSAM WAS BORN IN DOR- 
CHESTER (NOW A PART OF THE 
CITY OF BOSTON), OCTOBER 17, 1859, 
AND STUDIED IN BOSTON AND 
PARIS. 


MEMBER: ASSOCIATE NATIONAL 
ACADEMY OF DESIGN, 1902, NA- 
TIONAL ACADEMY OF DESIGN, NEW 
YORK, 1906, AMERICAN WATER COL- 
OR SOCIETY, NEW YORK WATER 
COLOR CLUB, BOSTON ART CLUB, 
TEN AMERICAN PAINTERS, MUN- 
ICH SECESSION, SOCIETE NATION- 
AL DES BEAUX ARTS, NATIONAL 
INSTITUTE OF ARTS AND LETTERS, 
AMERICAN ACADEMY OF ARTS 
AND LETTERS. 


AWARDS: BRONZE MEDAL, PARIS 
EXPOSITION, 1892; GOLD MEDAL 


FOR WATER COLOR, ART CLUB OF 
PHILADELPHIA, 1892; GOLD MEDAL, 


ACADEMY NOTES 


THE AMERICAN ACADEMY 


COLUMBIAN EXPOSITION, CHI- 
CAGO, 1893; PRIZE, CLEVELAND ART 
ASSOCIATION, 1893, WEBB PRIZE, 
SOCIETY OF AMERICAN ARTISTS, 
NEW YORK, 1895; PRIZE BOSTON 
ART CLUB, 1896; SECOND) CLASS 
MEDAL, . CARNEGIE INSTI rs. 
PITTSBURGH, 1898; TEMPLE GOLD 
MEDAL, PENNSYLVANIA ACADEMY 
OF FINE ARTS, 1899; SILVER MEDAL, 
PARIS EXPOSITION, 1901; GOLD 
MEDAL, PAN AMERICAN EXPOSI- 
TION, BUFFALO, 1901; GOLD MEDAL, 
ST. LOUIS EXPOSITION, 1904; 
THOMAS B. CLARK PRIZE ($300), 
SOCIETY OF AMERICAN ARTISTS, 
1905; THIRD CLASS MEDAL, CAR- 
NEGIE INSTITUTE, 1905; LIPPIN- 
COTT PRIZE, PENNSYLVANIA ACAD- 
EMY OF FINE ARTS, 1906; CAR- 
NEGIE PRIZE, SOCIETY OF AMERI- 
CAN ARTISTS, 1906; THIRD PRIZE, 
WORCESTER, 1906; SESNAN GOLD 
MEDAL, PENNSYLVANIA ACADEMY 
OF FINE ARTS, 1910; EVANS PRIZE 
($300) AMERICAN WATER COLOR 
SOCIETY, 1912; THIRD PRIZE W. A. 
CLARK, CORCORAN ART GALLERY, 


ACADEMY NOTES 


TT “—_ ) = 


Preah s AND LETTERS 


1910: FIRST W. A. CLARK PRIZE 
($2,000) AND CORCORAN GOLD MED- 
AL, WASHINGTON, 1912; ALTMAN 
PRIZE ($500) NATIONAL ACADEMY 
OF DESIGN, 1918; HUDNUT PRIZE 

($300) AMERICAN WATER COLOR 
SOCIETY, 1919; PHILADELPHIA 
WATER COLOR CLUB PRIZE, ($300) 
1919: GOLD MEDAL OF HONOR, 
PENNSYLVANIA ACADEMY OF FINE 
ARTS, 1920; GOLD MEDAL FOR 
PAINTING, PHILADELPHIA ART 
CLUB, 1915; ALTMAN PRIZE ($500) 
NATIONAL ACADEMY OF DESIGN, 
1922: ALTMAN PRIZE, ($1,000) NA- 
TIONAL ACADEMY OF DESIGN, 1924; 
ALTMAN PRIZE ($1,000) NATIONAL 
ACADEMY OF DESIGN, 1926; GOLD 
MEDAL FOR PAINTING, SESQUI- 
CENTENNIAL EXPOSITION, PHILA- 
DELPHIA, 1926. 

REPRESENTED: METROPOLITAN 
MUSEUM; CORCORAN ART GAL- 
LERY, WASHINGTON; CINCINNATI 
MUSEUM: CARNEGIE INSTITUTE, 
PITTSBURGH; MUSEUM OF ART, 
TOLEDO; FINE ARTS ACADEMY, 
BUFFALO: RHODE ISLAND SCHOOL 


AND MONOGRAPHS 


19 


THE AMERICAN ACADEMY 


OF DESIGN, PROVIDENCE; WOR- 
CESTER AR'T MUSEUM; EVANS COL- 
LECTION, FREER GALLERY, WASH- 
INGTON; NATIONAL GALLERY, 
WASHINGTON; PENNSYLVANIA 
ACADEMY, PHILADELPHIA; ART 
ASSOCIATION, INDIANAPOLIS; IN- 
STITUTE OFL ARTS) BE TRG Ta 
INSTITUTE, CHIC AG OF MINN 
APOLIS.’ INSTITUTE ee 
BROOKLYN INSTITUTE MUSEUM; 
CITY ART MUSEUM Ss t3 psa) 
HARRISON GALLERY, LOS ANGELES. 


ACADEMY NOTES 


EASTER MORNING 


23 


» CATALOGUE 
OIL PAINTINGS 


L. JUNE 
Painted at Old Lyme, Conn. from a 
classic point of view. Keceived the 
Carnegie prize at the last Exhibition 
of the Society of American Artists and 
the Carnegie prize from the Carnegie 
Institute, Pittsburgh. 
Lent by Mrs. Hassam 


BAY OF NAPLES 
Morning 


a. LHE OPAL 
Called so from the color scheme. 


4 BEACON STREET, BOSTON 

The artist painted this picture Septem- 
ber 17, 1919, quite unaware that it was 
an historical moment in American His- 
tory. It was the time of the Boston 
Police strike. The traffic officer in the 
foreground is a member of one of 
Boston’s most prominent families. Note 
armed soldiers with fixed bayonets at 
the crossing. Little, Brown & Co. 
hoisted the American fiag, which is 
seen in the picture. 


5. THE OPEN WINDOW 
A window in Celia Thaxter’s cottage 
on the Isles of Shoals. 


mPeORTRAIT IN THE PARK 


tw 


moAWEMY NOTES 


24 


THE AMERICAN ACADEMY 


7. THE EVENING HOUR 


Called by the late Frank Duveneck 
“Hassam’s Angelus.” It typifies the 
evening hour in Brittany when the 
Angelus is ringing. 


SELF PORTRAIT 

Painted in the artist’s studio in the old 
Rembrandt on 57th Street, New York 
City, 1898. 

Lent by Mrs. Hassam 


STILE Tie 

The whole window frame incorporated 
in the frame itself came out of an old 
Church built by the early English set- 
tlers at Easthampton. The entire 
church was hewn out of swamp cedar. 
The sash was given to Mr. Hassam by 
his carpenter, who had some sentiment 
for the old building, when the select- 
men of Easthampton decided to tear 
down the old church in spite of the 
efforts of Mrs. Tyler’s mother, who 
was of the Lion Gardiner family, who 
offered to endow and support it if it 
was left standing. The selectmen of 
Easthampton refused her offer as they 
wanted no old buildings. There were 
enough of them in the town. Henry 
Ford had not been born. 


AGAINST THE. Lich 
Portrait of a young girl. 
Lent by Miss R. B. Moore 


ACADEMY NOTES 


11. 


OF ARTS AND LETTERS 25 


LOOKING INTO THE LITTLE 
SOUTH ROOM 


Painted at Easthampton. One of the old 


Nees 


14. 


ie 


16. 


17. 


18. 


19. 


houses built by the early English set- 
tlers. 
Lent by Mrs. Hassam 


PORTRAIT OF MISS INGRAM 
A model whom Mr. Hassam painted a 
many times. 


POSILIPPO 
Looking toward Posilippo from Naples. 
Lent by Miss R. B. Moore 


THE NEW YORK WINTER 
WINDOW 

Showing the lower parts of skyscrapers 

looming in the distance and the snow 

on the tops of the houses. 


SERVICE FLAGS, PHILADELPHIA 
Showing a silhouette of the City Hall. 


MALHEUR BUTTE 
Oregon 
Lent by Mrs. Hassam 


PHRYNE 
Study of a nude in an interior. 


OUTDOOR PORTRAIT 
Painted at the Isles of Shoals. 


Wan .OP OF - THE CLIFFS 
Montauk, L. I. Outdoor study of the 


nude. 


AND MONOGRAPHS 


26 


20. 


24. 


roe 


26. 


THE AMERICAN ACADEMY 


OSCAR LEIGHTON 

Mr, Leighton lived at Appledore on the 
Isles of Shoals all his life and was a 
brother of Celia Thaxter—Mr. Hassam 
painted this portrait in two hours. 


WINTER 


One of the New York Winter Series. 
THE BERYL GORGE 


. THE BOWL-OF NASTURTIUMS 


One of the Window series. Painted at 
Old Lyme, Conn. (The late Richard 
Watson Gilder said that he thought 
this would be one of Mr. Hassam’s 
most famous pictures.) 


THE PREV IYeoce 

A pool at Bass Rocks on Cape Anne, 
so named by the children who played 
in it. 

TANAGRA 

A New York subject. The model is 
holding a Tanagra figurine. Through 
the window can be seen the erection of 
a skyscraper. This picture is symbolic 
of the growth of New York, trying to 
come up in a beautiful way. 

Lent by John Gellatly, Esquire 


THE ROOM OF FLOWERS 

Celia Thaxter’s salon at Appledore, 
Isles of Shoals. A room filled with 
flowers and most everything else, from 


ACADEMY NOTES 


TANAGRA 


28 


as & 


28. 


29. 


30. 


ak: 


THE AMERICAN ACADEMY 


a Grand Rapids rocking chair to the 
most exquisite Venetian glass vases and 
period pieces of Colonial furniture. Mr. 
Hassam was elected to the Champs de 
Mars Salon on this picture. A Paris 
journalist remarked that the title 
should be “Cherchez la femme.” 
Lent by Mrs. Hassam 


EASTER MORNING, 1921 
Portrait:of a New York girl. New 
York Window series. 


ARCADY 

The trees are the Giant Ailanthus. 
Painted at Easthampton, showing the 
three different Lilacs. This painting 
was in the artist’s exhibit at the Cen- 
tennial Exhibition of the National 
Academy of Design. 


VENETIAN BROCADE 
Portrait of Sylvia Jewell in Mr. Gel- 
latly’s ball room. 


JULY NIGHT 

Painted at Easthampton in Ruger 
Donoho’s garden. Mr. Alexander Har- 
rison and Mr. Donoho arranged these 
lanterns for a Fourth of July celebra- 
tion in 1898. Portrait of Mrs. Hassam. 
Lent by Mrs. Hassam. 


POMONA 

A classic subject and an attempt to 
carry out the classic spirit. 

Lent by John Gellatly, Esquire 


ACADEMY NOTES 


Je. 


OF ARTS AND LETTERS 


THE DOGWOOD TREE 

Painted at Easthampton, L. I. The 
artist used the little amours to carry 
out the decorative intent. 


. THE SUN ROOM 


Portrait of Mr. Hassam’s niece painted 
at Easthampton. The flower in the 
glass dish is the American Tree Tulip. 
Winner of the Altman prize ($500) in 
the Winter Exhibition, 1922 of the Na- 
tional Academy of Design. 


esl, LE 


Against the light. 


Stuer LAY OF LIGHT 


A mantle in the summer home of the 
artist at Easthampton, now nearing 300 
years of age and built by early English 
settlers. 


, COLONIAL CROCKS 


These jars are probably of oriental 
origin and brought back by the Whal- 
ers to Sag Harbor and found there in 
the old houses. 


mG otk, 1918 


Old cottage in Easthampton. 
Lent by Miss R. B. Moore 


. AGAINST THE LIGHT 


Portrait of a Model. 


ey re UVIUS 


Naples. 


AND MONOGRAPHS 


29 


THE AMERICAN ACADEMY 


The following small Oils are in the cases: 
40. APPLEDORE, ISLES OF -SeO Ais 


. RHONDA 
Spain. 


. NUDE ON: THE BANK 


. WHITE. ISLANDSLIGia: 
Isles of Shoals in. Moonlight. 


WATER COLORS 


. AFTERNOON, PROMISED LAND 
. OLD DELMONICOS, 1892 


. COURT STREET, POR fae i 
NG Ed. 


47, THE BROWNSTONE STOOP, 
NEW YORK 


18. THE ISLAND GARDE 


. THUNDERSTORM ON THE 
OREGON TRA: 


. AUDITORIUM, CHICAGO @iaa0 


WATER COLORS INsCASES 


. HIRAM SHERRILL’S FIELD 
Easthampton, seme 


. SAMMIE’S BEACH 
Easthampton. 


ACADEMY NOTES 


32 


68. 
69. 


THE AMERICAN ACADEMY 


/ GEORGICA 
. YOUNG PAN 
. THALASSA 


YOUNG PAN 


. COURT STREET CORNER. 


PORTSMOUTH, Woe 
SURESNES 


. STRATHAM AI 

. THE MARE'S TAIL ens 

. COURTYARD, TOLEDO 

. CHURCH TOWER, BROAD- 


STAIRS, ENGLAND 


. LANNION, BRITTANY 
. CANTERBURY CATHEDRAL 
. WINTER, 1918, COLUMBUS 


CIRCLE 
BROADSTAIRS 
BROADSTAIRS, BLEAK HOUSE 
PASTELS 


OLD HOUSE, COS COB 
OLD HOUSE, COS Cob 


ACADEMY NOTES 


81. 
82. 


Peek is AND LETTERS 33 


PASTELS IN CASES 
ra PereCHURCH, FISHKILL 


. THE TIDAL DAM AND BRIDGES 


as. Cob. 


Pe vOUNnIsh AT SUNSET, COS 


COB 


meOstON. FOslT ROAD, GREEN-| 
H 


WIC 
CEDRIC’S GARDEN 
Isles of Shoals. 


» THE SALT HAY MAKERS 


THE OLD BRUSH HOUSE, 
COS COB 


WOOD CHOPPER, COS COB 


_ THE SHRIMPERS, COS COB 


DRAWINGS IN GASES 
JULIA 


Drawing for a portrait 


DA ae Rg he 


Drawing for a portrait 
THE OLD MULFORD HOUSE 


THE FLOOR OF THE STOCK 
EXCHANGE 


AND MONOGRAPHS 


THE AMERICAN ACADEMY 


83. ST. PHILIP'S, CHA eee 

84. SPRING IN CHARLESTON 

85. RICHMOND, VIRGINIA 

86. YOUNG SAPPHO 

87. WASHINGTON MONUMENT, ist 
88. THE WASHINGTON ELMS 


89. THE DUET 
(Drawing in Sanguine) 


90. ST. JOHN’S, WASHINGTON 
91. WASHINGTON MONUMENT, 3rd 
92. ST. MICHAEL’S, CHARLESTON 
93. WASHINGTON MONUMENT, 2nd 
94. THE VIADUCT AT 138th STREET 
95. EASTHAMPTON ELMS IN MAY 
96. MT. VERNON 

97. THE WHITE HOUSE 

98. THE OLD FORT, ST. AUGUSTINE 


99. A LIVE OAK GROWING IN THE 
SOU 


LITHOGRAPHS AND LITHOTINTS 
100. AVENUE OF THE ALLIES 


ACADEMY NOTES 


MOGNI\\ WILNIAA MAYOR MAN AHL 


om: 


Lookine INTO THE LittLE SoutH Room 


Peaks AND LETTERS a7 


Mi LAPAYETTE STREET, NEW 
YORK 
(Lithotint) 


LITHOGRAPHS AND LITHOTINTS 
tN CASES 


102. LA GLOIRE 
French Cruiser in the Hudson during 
the War. (Lithotint) 


103. THE LITHOGRAPHER 
(Lithotint) 


104. STORM KING 
(Lithotint) 


105. NEW YORK BOUQUET 
106. THE NORTH RIVER 


PiECHINGS IN CASES 


feet tie ELOOR OF THE STOCK 
EXCHANGE 


108. THE OLD MULFORD HOUSE 


109. WINNICUT POND 
Near Exeter, N. H. 


110. UPPER MANHATTAN 
Hell Gate Bridge. 


lil, INDEPENDENCE HALL 


AND MONOGRAPHS 


38 


THE AMERICAN ACADEMY 


. BATTERY Ane 

. THE WHITE HOUSE es 

. HELEN BOURKE 

. THE SWIMMER, BASS ROCKS 
. ST. JOHN’S, WASHINGTON 

. THE WASHINGTON ELMS 

. NEW YORK PUBLIC LIBRARY 
. THE FLAG 

. CHURCH TOWER, PORTS: 


MOUTH, N. H. 


. RAIN DROPS IN SSG 
. WASHINGTON MONUMENT, Ist 


Baltimore. 


. WATER. MIEG 

. CLAIRE MARTEL 

. SPRING IN CHARLESTON 
. OLD. DUTCH ACH 


FISHKILL 


- INCOMING TIDE 
. ST. PHILIPS, CABARRUS. a 
. WASHINGTON MONUMENT, 3rd 


Baltimore. 


ACADEMY NOTES 


OF ARTS AND LETTERS 


. EASTHAMPTON IDYLL 
Pieoie MICHAEL'S, CHARLESTON 


132. WASHINGTON MONUMENT, 2nd 
Baltimore. 


133. WASHINGTON, APRIL 

134. TREES OF HEAVEN 

135. THE PAGEANT DANCE 

136. COS COB DOCKS 

137. CHURCH AT OLD LYME 
. MRS. K. VAN R. 
. MIDSUMMER 

140. GIRL IN-A MODERN GOWN 

141. MARIE AT THE WINDOW 

142. THE VIADUCT AT 138th ST. 

143, ALONG THE SHORE 

144. THE VERMONT VILLAGE 

145, EASTHAMPTON ELMS IN MAY 

146. MT. VERNON 

147, THE WHITE HOUSE, 3rd 

148. THE SUN ROOM 

| ‘THE UNIVERSITY OF VIRGINIA 


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40 


THE AMERICAN ACADEMY 


150. 
151. 


192: 
133. 


154. 
155: 


156. 
Oy. 


158. 
139; 


160. 


161. 
162. 
163. 


164. 
165. 


THE HAY BARN 
EASTHAMPTON 


THE BEACH, EASTHAMPTON 


THE LITTLE CHURCH AROUND 
THE CORNER 
Winter. 


NYSSA SYLVATICA 


THE “HOME SWEET HOME” 
COTTAGE, EASTHAMPTON 


RICHMOND, VIRGINIA 


TIDE WATER POOLS, 
NAPEAGUE BEACH 


THE WRITING DESK 


COLONIAL CHURCH, 
GLOUCESTER . 


WASHINGTON’S BIRTHDAY 
23rd Street, New York. 


YOUNG SAPPHO 
CHURCH ACROSS THE WAY 
OLD CHINATOWN 


San Francisco. 


OLD LACE 
CALVARY CHURCH IN SNOW 


ACADEMY NOTES 


ORTRAIT 


on P 


Out Do 


42 THE AMERICAN ACADEMY 


166. OLD FORT, ST, AUGUSTINE 


167. A LIVE OAK GROWING IN THE 
SOUTH 


The following etchings just published will 
be shown in a portfolio by appointment 
upon request: 


168. OLD: HOUSES! ON =k aa) 
STREET, NEW ORLEANS 


169. THE NEW CABILDO 
170. NEW ORLEANS 


1171. COURT IN THE VIEUX CARRE, 
NEW ORLEANS 


172. GEN. JACKSON’S HOUSE AND 
THE OLD SPANISH ARMORY 
New: Orleans. 


173. PATIO IN .THE VIEUX CARRE 


174. PORTRAIT OF EDWARD BOREIN 
The Cowboy: Etcher, Santa Barbara. 


175. TIJUANA: 


176. THE PLAZA DE LA GUERRA, 
Santa Barbara. 


177. CONTOURS OF LOS ANGELES 
178. DESERT GARDEN, ARIZONA 


179. EUCALYPTUS TREES, CORON- 
ADO 


ACADEMY NOTES 


re 


of those described as owned by col- 
lectors or private persons are for sale. 


43 


